CCL
JORGE
"On nonbinary (O / I) production
The proposal is conceived as a never ending piece, an elusive object. A critique on the -Best Practices in technology- where binary methodologies ruled. The Itinerant process of “YES, we have learned this is the way to go & NO that’s not what we want. We will do it “better” the next time”. 
What does it mean to do it better when we don’t define a clear goal?
We propose a framework where we try to avoid to arrive.
We hang on the space between achieving appealing aesthetical visual compositions and the spectacular failure on such a quest. Dance serves here as medium, a physical fluid switch to the rescue on the binary nature of transistors (O / I). 
We/ they
deal with the impossibility for “I”, since becoming as a singularity is never achieved due to the lack of control. “I” can’t control what is happening at the other side of the screen, “I” as a continuous expansion on “We/They” are constrained in multidimensional spaces proposed by “Our/Their” intentions"

NAOTO 
"We discussed what could be the “best practices” in contemporary dance. It is not simply an irony to the current contemporary-dance scene, in which every dancer has different practices and often is self-referential, but also a proposition to explore contemporary dance in a systematic fashion.
Specifically in networked performances, not many dancers or artists know how to practice and to develop bodily expressions through a camera and a screen. We believe that we need a slow process to understand what it means to dance online; for example, an online analogy of a studio space has to be set up so that dancers and artists can gather to practice. 
We imagine this session similar to a weekly TV program; at some point, we fix the day and time, and people can tune in to watch the performance, but it is a continuation of exploratory practices and is not meant to be a finished performance"  


You may also like

ai - art me
Ai - Machine Learning • Face Swapping • Royal Museum of Fine Arts Antwerp KMSK • Project on the behaviour and perception of museum visitors • Optimisation of the customer journey • Using A.I. and IoT
2020
Graphical Representation of Dance in VR (Motion Bank)
Applied research into graphical representation of dance in Virtual Reality. The author uses his previous knowledge and experience in dance and in technology on this research within the framework of an internship at Motion Bank for a bachelor degree in Multimedia & Communication Technology, at Erasmushogeschool Brussels (University of Applied Sciences).
2022
exciting research
A world where everyone’s mask seems to fall off and where social interconnectivity is made aware. It can break the ice and change social constructions by making everybody more ‘sensitive’. A less-hierarchical sharing space. Your subconsciousness is ‘vulnerably’ shown with your consent, because you agreed on showing it, by wearing it. Subconscious collective behaviour is measured, visualised and further stimulated. The body, its relations and exchange with other bodies and the context open a framework where technology serves as a canvas to paint our emotions. ‘Can we learn more about social interactions as cyborgs?’ While wearing the device you can not see your own color, the device shows extra (extravert) information without you controlling it. With the MOODY® you will grow a new cyborg sense, an extension of your body and a new reality for the others around you, something that couldn’t be ‘reachable’ in normal social interactions.
2018
2018 - NOW
da - william zig zag
here comes some text ...
2017
compiled
some photos quickly selected without reviewing all my documentation
2010
megaphone - ensemble - Beursschouwburg
here comes some text ...
2018
melting pot
here comes some text ...
2018
Ēngines of Ēternity (SEADS)
What concept of culture and identity will we develop in space? Who will have a say in this? And if we end up with a rich diversity of cultures and identities, how will we maintain cohesion? Ēngines of Ēternity (ĒoĒ) is a joint effort between SEADS and the laboratory of Karine Van Doninck (UNamur/ULB). In a series of space biology experiments, rotifers were sent to the ISS in 2019 and 2020. SEADS sent a human fingerprint code along with the rotifers. This code formed the algorithmic seed for an evolving artwork. After each space mission the gene expression data of the rotifers was used to parametrically evolve the art. As such, Ēngines of Ēternity engenders new forms of co-creation between humans, biological organisms, algorithms, and outer space. ĒoĒ is realized in partnership with the RISE project of the laboratory of Prof. Karine Van Doninck at the University of Namur. RISE is funded by ESA and BELSPO, in the framework of the PRODEX programme. Ēngines of Ēternity is funded with support of the Flemish Authorities. RISE and Ēngines of Ēternity were first launched on 5 December 2019 from Space Launch Complex 40 at Kennedy Space Center in Florida, as part of the SpaceX CRS-19 mission. NASA provided technical support.
2022
maya's clock
data visualization in JavaSript
2018
mus-e
here comes some text ...
2011
Back to Top